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Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.
As the editor of Opera magazine, John Allison, notes in his editorial in the June issue, Donizetti fans are currently spoilt for choice, enjoying a ‘Donizetti revival’ with productions of several of the composer’s lesser known works cropping up in houses around the world.
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.
Richard Strauss may be most closely associated with the soprano voice but
this recording of a selection of the composer’s lieder by baritone Thomas
Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings
can be rendered with equal beauty and character by the low male voice.
Bernarda Fink’s recording of Gustav Mahler’s Lieder is an important new release that includes outstanding performances of the composer’s well-known songs, along with compelling readings of some less-familiar ones.
Das Rheingold launches what is perhaps the single most ambitious project in opera, Richard Wagner’s Der Ring des Nibelungen.
This live performance of Laurent Pelly’s Glyndebourne staging of
Humperdinck’s affectionately regarded fairy tale opera, was recorded at
Glyndebourne Opera House in July and August 2010, and the handsomely produced
disc set — the discs are presented in a hard-backed, glossy-leaved book and
supplemented by numerous production photographs and an informative article by
Julian Johnson — is certainly stylish and unquestionably recommendable.
Recorded at a live performance in 2012, this CD brings together an eclectic
selection of turn-of-the-century orchestral songs and affirms the extraordinary
versatility, musicianship and technical accomplishment of mezzo-soprano
Once I was: Songs by Ricky Ian Gordon features an assortment of
songs by Ricky Ian Gordon interpreted by soprano Stacey Tappan, a longtime
friend of the composer since their work on his opera Morning Star at
the Lyric Opera of Chicago.
Alfredo Kraus, one of the most astute artists in operatic history in terms of careful management of technique and vocal resources, once said in an interview that ‘you have to make a choice when you start to sing and decide whether you want to service the music, and be at the top of your art, or if you want to be a very popular tenor.’
In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi.
With celebrations of the Verdi Bicentennial in full swing, there have been
many grumblings about the precarious state of Verdi singing in the world’s
major opera houses today.
In the thirty-five years immediately following its American première at the Metropolitan Opera in 1914, Italo Montemezzi’s ‘Tragic Poem in Three Acts’ L’amore dei tre re was performed in New York on sixty-six occasions.
Few operas inspire the kind of competing affection and controversy that have surrounded Mozart’s Così fan tutte almost since its first performance in Vienna in 1790.
During his career in film, opera, and operetta, Richard Tauber (1891 - 1948) enjoyed the sort of global fame that eludes all but the tiniest handful of ‘serious’ singers today.
Known principally for its two concert show-pieces for the leading lady, the success of Francesco Cilea’s Adriana Lecouvreur relies upon finding a soprano willing to take on, and able to pull off, the eponymous role.
19 Jan 2007
These recordings prove decisively a well-known thesis: more or less realistic productions always age better than so called innovative modern productions which often only aggrandize the clichés of the time of their conception if one views them a few decades after their première.
This doesn’t mean that ‘the next swan’ puts in an appearance in the Everding production at the Met ( brilliant lighting does the job) but the designs and costumes transfer us to Antwerp in the early middle ages. Exact dating of the opera is even possible: between 919 and 936, as those were the years Heinrich der Vögler was German king (though to be honest, the duchy of Brabant, where this reviewer is living, only got its name some 150 years later). Anyway, the Met production’s sets and costumes are roughly apt for the period and Elsa at least, wears some robes fit for a duke’s daughter instead of the same ugly colourless night gown Friedrich and his team thought fit for the Bayreuth production. Peter Hofmann too looks far better in his fine Met costumes than in the now hopelessly dated half knight/ half astronaut plastic (or is it metal ?) he has to wear in Germany. Friedrich probably had some ‘democratic’ problems with the king being graciously attended to, and so he has the singer seated on the steps of the stairs among all the other nobles. At the Met the king gets his throne during his hearing and the scene all at once doesn’t look ridiculous anymore. Time and again one sighs at Friedrich’s solutions and with relief one returns to Everding.
The Bayreuth production, however, has one distinct advantage over the Met’s. Four years and a lot of heavy Wagner roles later have taken their toll on Hofmann’s voice. The shine of it has somewhat disappeared and there is more strain in the high register. Granted, there is more refinement and some fine piannismi phrasing too at the Met, but these don’t quite compensate for the loss of vocal strength. This doesn’t mean the Bayreuth performance is perfect. After all this is Wagner’s most Italian opera and the recordings of De Lucia and Pertile prove what an Italian tenor could do with it. I sorely miss the ‘morbidezza’, the sweetness and sensuality, a good tenor can bring to the role, and next to Sandor Konya, Hofmann pales. Leif Roar too has not improved in the few years between the two recordings. In Bayreuth he is an impressive Telramund and he sings with the dark-burnished sound apt for the role. At the Met his singing is often crude and soon becomes barking before degenerating into shouting. Siegfried Vogel too at Bayreuth is vocally more impressive than the Met’s John Macurdy, who has some flat notes. Both Bernd Weikl and Anthony Raffell (a name unknown to me) sing a sturdy and strong Heerrufer. I don’t think nowadays both houses are still able to cast this small role with such outstanding talent.
On the ladies front, however, the Met wins hands down. Karan Armstrong is rather passive and colourless compared with the bigger and more creamy sound of Eva Marton. Elisabeth Connell is a South-African soprano and therefore can more easily cope with the high tessitura of the role but she is no match for the acting and the rich secure top of Leonie Rysanek, stunning at age 60.Woldemar Nelsson is a solid Kapellmeister but already at the prelude there is an aura of magic lacking. James Levine, with his long experience in German and especially Italian opera, immediately plunges into the mystery of the score and keeps it up till the end of the opera. The Met’s orchestra and chorus too are on the same level as the Bayreuth phalanx. As often one wishes one could take the best of these two worlds but in the end Levine, Marton and the production give the Met’s performance a slight edge.
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